IN­SPI­RA­TION BOARD “Hav­ing things out in the of­fice is key – as an idea can come in­ci­den­tally. You’ll look at an im­age and some­thing will click. And or­gan­ised chaos is im­por­tant be­cause if ev­ery­thing was tucked away and nice and neat, a lot of con­cepts wouldn’t come out as easily.” STREET CUL­TURE “That’s a clas­sic Kate Moss poster that was all over New York City. Supreme is an amaz­ing la­bel and it was shot by Terry Richard­son. Street cul­ture is some­thing I grew up with – skate­board­ing was a big part of my child­hood. It’s a more sub­ver­sive kind of cul­ture.” MOD­ELS “We call these sketch mod­els and make hun­dreds of them. We just keep try­ing dif­fer­ent it­er­a­tions of the same de­sign. There’s plas­ter, blue foam and card­board. The way we work is ana­logue as op­posed to dig­i­tal. We like to draw tac­tile, real things.” CAM­ERAS “That’s a Leica ‘M-A’ and a Fu­ji­film ‘X-pro1’. These are just rangefind­ers, not su­per tech­ni­cal or any­thing, but iconic. I like doc­u­ment­ing things – it’s an easy way to record an idea or mo­ment.”

He ex­udes the quiet con­fi­dence of a man who lets his work speak for it­self. That in­cludes ar­chi­tec­tural and de­sign projects for Merivale, Incu, Dion Lee, Camilla and Marc and The Aus­tralian Bal­let. Here, in Syd­ney’s Surry Hills, the 36-yearold un­packs the “or­gan­ised chaos” that is his workspace.

LAMP “I like col­lect­ing lamps and fur­ni­ture. For me, it’s about in­vest­ing in beau­ti­ful things. This lamp has a re­ally nice de­sign – quite a fem­i­nine shape, which con­trasts with the in­dus­trial base. It’s a good colour. Nude. Or salmon, maybe?” BOOKS “Ar­chi­tec­ture and art books are a big in­spi­ra­tion. I buy these when I travel. Even things that are to­tally un­re­lated like this one, Build­ing Small Boats – just the way tra­di­tional crafts­men work can be in­ter­est­ing and a great source of cre­ativ­ity.”


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